Материал: Проблемы социальных и гуманитарных наук. Радугин А.А., Перевозчикова Л.С

«Проблемы социальных и гуманитарных наук». Выпуск №3 (13), 2017

despite the fact that the illustrations were absent. “Virineia” was the early Soviet form of comics thinking because its structure makes the text accessible to the masses of readers.

Therefore, “Virineia” actualized the functions of political indoctrination which later became universal for Soviet ideological utopia. The communist paradise and “promised land” in the play had a heterogeneous character because Vladimir Maiakovskii synthesized common categories of traditional, transitional and modern cultures. Vsevolod Ivanov was among the most talented writers of early Soviet Russia who made a significant impact both to the emergence of the Soviet literature in general, and the actualization of its utopian motives in particular, but the writer's talent predetermined that some of his utopian sentiments and ideas in the Soviet realities of the 1920s and the 1930s turned in anti-utopian and led to difficulties with political, ideological and censorial powers.

The utopian motifs and ideas bring together the texts of Vsevolod Ivanov and Gaito Gazdanov’s prose. It is possible to draw parallels in their perception of Russia as a country between the past and the future in their novels "Bronepoezd 14 - 69" and "Vecher u Kler". Vsevolod Ivanov and Gaito Gazdanov become authors of two texts with the same title: “Vozvrashchenie Buddy” (“The Return of the Buddha”) which also actualized the problems of rational and irrational utopian sentiments in the development of Russia. Vsevolod Ivanov in “Bronepoezd 14 – 69” [Ivanov, 1988] also tried to actualize the transit nature of Russian utopia, different states and forms of crossborderness and situations of transculturalism. The armoured train or “bronepoezd” of Vsevolod Ivanov symbolizes the uncertainty of the past and future in the revolutionary Russia because it hovered between different historical eras and different forms of utopian consciousness. Vsevolod Ivanov, as other early Soviet authors, took the attempts to anthropologize utopia in his novel “Parhomenko” [Ivanov, 1948].

The origins of the utopian consciousness’s anthropologization in Sovietised Russian prose were diverse and heterogeneous. Natal’ia Arsent’eva [Arsent'eva, 1993, 309] suggests that the utopian character became an inevitable result of the developments and transformations of classical Russian literature, but the author of this book does not agree with such idealized utopian attempts to trace the lineage of the Soviet prose’s heroes of the 20th century. The author presumed that the utopian and anti-utopian heroes were among radical and decisive results of refusal from the old archaic poetics. Literary ancestral home of utopian character can be mapped in the culture of modernity and its particular forms including socialist realism, which deliberately imagined and invented new people as the inhabitants of its own Utopia.

Actually, the novel formally belonged to the official socialist realist discourse, but it was a Soviet novel-construct. Vsevolod Ivanov in “Parhomenko” simultaneously sought to antropologize and ideologize the heroes of the Soviet utopia, but this novel was more aesthetic than “How the Steel was Tempered” of Nikolai Ostrovskii because Nikolai Ostrovskii wrote an icon, but the characters of Vsevolod Ivanov were still alive. It was normal in an intellectual situation of the interwars USSR that the Nikolai Ostrovskii’s novel was ideologized, mythologized and became the most published text in the by USSR and its author turned into a political icon. Vsevolod Ivanov, in contrast to Nikolai Ostrovskii, was a writer, he actualized the roles and functions of the creator and poets had ideological problems with the Soviet censorship. Vsevolod Ivanov, from the formal viewpoint of the communist ideology, proposed politically correct image and mature character of the revolutionary, a red commander and a hero of the Civil War in “Parhomenko”, but Vsevolod Ivanov [Papkova, 2012] rewrote the novel three times and “Parhomenko” in this context was the text-construct that reflected the main ideological and political transformations of the Soviet Communist utopia of the 1930s and 1950s that ranged between Stalinism and political idealism.

If "Bronepoezd 14 - 69" and "Parhomenko" relatively easily passed through all the circles of the Soviet ideological and political censorship, the fate of other texts, which also actualized the utopian motifs on their border and frontier with anti-utopia, was complicated and difficult. "Partizany", the first novel in series “Partizanskie povesti”, "Bronepoezd 14 - 69" belonged to, was

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«Проблемы социальных и гуманитарных наук». Выпуск №3(13), 2017

a complex and heterogeneous text where simultaneously coexisted multiple dimensions and meanings. Vsevolod Ivanov managed to publish a story when the writer was still relatively free and could describe the revolutionaries as living people. These tactics and strategies a few years later become impossible because political censorship demanded ideologically correct and canonical images that had more in common with the communist political icons. Kobelev-Malishevskii, one if Vsevolod Ivanov’s early characters, expressed common sentiments and ideas about early revolutionary Russia. He was disappointed and also lost faith in the old Russia with its archaic values: “the monastery was built to pray, and you do not go into it. You mention God only in the dirty words, there is no religion and faith in the power...” [Ivanov, 1973, 69]. “Vozvrashchenie Buddy” (“The Return of the Buddha”) of Vsevolod Ivanov was one of the most utopian novels in the early Sovietized Russian prose of the first half of the 1920s.

Formally novel belonged to a realistic discourse, but in fact actualized Orientalist tendencies and the clash of different identities with their utopian preferences and ideas in the early Soviet utopia. The novel’s characters, despite the understanding that “revolution like fire, it eat and can not satisfy itself” [Ivanov, 1973, 537] acted as victims of this revolution that became the radical attempt to destroy old orders and institutionalize utopia instead them. The Soviet powers in the novel appear as the ideal form of the universal utopia and the regime that cares about Mongolians and Buryatians and authorize the return Buddha statue to them. Vsevolod Ivanov’s “Vozvrashchenie Buddy” became origination of naive belief and idealistic conviction that the revolution will be able to build a new society, a new state, which will be almost a utopian, but the text did not become a utopia in the classical sense and utopian motives were ignored and unnoticed by criticism in the 1920s because the text was not integrated in the context and canon of the dynamically changing and sovietizing Russian prose. Vsevolod Ivanov’s novels “Kreml’” and “U” [Etkind, 1999; Ivanova's, 1990] were among the most utopian texts of formally Soviet literature, but the writer could not publish these texts.

The text of “Kreml’” was heterogeneous in the time perspective and the author actualized the medieval and Soviet dimensions in the history of Russia. The attempt to build a new Kremlin in Uzhga, that would be the better than Moscow one, became the institutionalized collective will and desire to realize religious and political utopia. The residents of Uzhga in the early 1920s became victims of Russian Revolution: Afanas-Tsarevich is provincial crazy, Agaf’ia is his sister and a supporter of radical revolutionary changed, Gurii Lopta is a religious fanatic who deliberately seeks to ignore the revolutionary changes, Vavilov is the semi-intellectual who tried to find personal and psychological salvation in Uzhga from the revolutionary storms and upheavals. Actually Vsevolod Ivanov’s novel "Kremlin" revised the role of religion and violence in the social and political transformations: Agaf’ia organized “religious-Orthodox society” and tried to occupy Cathedral; the local fanatically oriented crowds killed Uzbek Mustafa, who decides to convert to Orthodoxy. Vsevolod Ivanov actualized anti-utopian scenario of the moral and cultural degradation of the Church in the community of fanatics and sectarians in his “Kreml’”. The novels “Kreml’” [Ivanov, 1990] and “U” [Ivanov, 1990] were texts about attempts to artificially create new man for Soviet Communist utopia.

The novel “U” can be roughly defined as anthropological utopia because the idea of human transformation after the revolution was central in this text. If other Soviet writers idealized the attempts to create a new humanity for revolutionary communist utopia, Vsevolod Ivanov tried to prove that the attempts of the radical and revolutionary transformations of humanity are doomed to failure. Vsevolod Ivanov’s cheracters were far from the idealized ardent revolutionaries of the later Soviet literature, despite the fact that the heroes of Vsevolod Ivanov and ardent revolutionaries of other Soviet authors were predominantly heroes-constructs. The heroes of Vsevolod Ivanov differed from the later Soviet heroes, because they were victims of utopia and revolution, and the heroes of the late Soviet prose fanatically built this utopia, they were its slaves and believed in it.

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«Проблемы социальных и гуманитарных наук». Выпуск №3 (13), 2017

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